We’re back! The Children returns for its final 3 weeks of performances

by Terri Roberts

Happy New Year! After a long and tumultuous 2021, the hope and promise of the first calendar page of 2022 has arrived.

At the Fountain, we have much to look forward to in the months ahead. New, exciting productions are already in the works (more news on them to come), but first we wrap up our LA premiere presentation of Lucy Kirkwood’s Tony-nominated drama, The Children. This critically-acclaimed production returns to our indoor stage on Saturday, January 8th, to begin the countdown of its final seven performances.

Directed by Simon Levy, The Children stars Ron Bottitta, Elizabeth Huffman and Lily Knight as longtime friends and work colleagues at a British nuclear power plant who are reunited after decades apart when one of the trio surprises the other two with an unplanned visit and an unthinkable request. Kirkwood’s funny and astonishing play is a taut and disquieting thriller about responsibility, reparation and moral accountability. The Children is a provocative legacy drama that asks the big questions we often try to avoid but ultimately must always face: what is our responsibility to the future? To ourselves? To our children?

Lead L.A. Times theatre critic Charles McNulty declared that, “…we hang on to every word… Lucy Kirkwood’s The Children follows the wisdom of the environmental slogan “think globally, act locally.”… What Kirkwood excels at is creating characters that audiences want to learn more about… The Fountain bravely continues to bring L.A. audiences important contemporary works the larger theaters in town still haven’t the courage or vision to produce.” (CLICK HERE for links to reviews and to read pull quotes from them.)

If you haven’t yet seen the show, you still have time. The Children runs through Sunday, January 23rd, with performances Saturdays and Monday the 10th at 8pm, and Sundays at 2pm. (Dark on Monday, the 17th, in observance of Martin Luther King Day.)

CLICK HERE to make reservations.

Please Note: All Covid protocols are followed and enforced. Audience members will be temperature checked and must show proof of full vaccination to be admitted. Masks are mandated and must be worn at all times inside the theatre, except when eating or drinking. Our upstairs café is open and waiting for you.

Terri Roberts is a freelance writer and the Coordinator of Fountain Friends, the Fountain Theatre’s volunteer program. She also manages the Fountain Theatre Café.

Rave reviews for L.A. Premiere of THE CHILDREN

Fountain Theatre finds home for theater photographer Ed Krieger’s lifework at L.A. Central Library

Christina Rice and Wendy Horowitz from Los Angeles Central Library pick up Ed Krieger archives at Fountain Theatre.

Photographer Ed Krieger captured hundreds of L.A. theater productions over the course of 40 years before his death on December 16, 2020. Now, the Fountain Theatre has arranged for his large collection of photos, negatives, slides and digital files to be permanently housed at downtown’s Los Angeles Central Library, where it will be archived as part of the library’s Photography Special Collections.

For decades, through the lens of his camera, Krieger chronicled the production history of local stages. His production stills captured the essence of live performance at such venues as the Fountain Theatre, Skylight Theatre, Boston Court, El Portal, Laguna Playhouse, Rubicon Theatre, Downey Civic Light Opera, Ford Amphitheatre, Hollywood Bowl and many more. His images appeared in the Los Angeles Times, New York Times, Variety and the Hollywood Reporter. American Theatre magazine highlighted Krieger in its 2015 feature on nationally recognized theater photographers.

“The Los Angeles Public Library is honored to be chosen as the custodian of Ed Krieger’s photographic archive documenting almost 40 years of local theater,” says Senior Librarian Christina Rice. “This collection will be an incredible supplement to our theater photos from the Herald Examiner newspaper image archive, and builds on the incredible wealth of materials in our Literature and Fiction Department which chronicles Los Angeles theater productions from the late 19th century to the present. We’re excited to be a go-to source for local theater research.”

Krieger’s children, Will Krieger and Courtnay Krieger, said in a statement, “We thank the Los Angeles Public Library for archiving our father’s work. We are happy to know that his photography will be preserved for the future and shared with others.”

Being Thankful for an Attitude of Gratitude

By Terri Roberts

I have a ritual I perform every night, no matter what. I write out a list of the things I am grateful for that day and text it to a dear friend. He, in turn, sends me his nightly Gratitude List as well. We have been doing this, without fail, for almost two years now.

This simple little exercise keeps us focused on the important things in our lives. The things that really matter. And while yes, we sometimes note gratitude for such mundane (but still important) things such as paying the bills, gas in the car, and a working AC on a blistering summer day, our lists are mostly filled with thankfulness for friends and family, meaningful work, joy in simple things, and actions that reflect a refusal to live in the shadow of doom and gloom.

That does not mean, however, that life is lived on a pink cloud. Far from it.

Invariably we each have days where there’s just not a drop of gratitude to be found. Anywhere. Problems at work, health issues, financial stresses, family challenges, the nightly news and the state of the state/country/world can all be tenacious and debilitating in their grip. And so it becomes a wonderful thing – and something else to be deeply grateful for – to have someone there to offer perspective, support, and unflagging friendship and love. We have each pulled the other out of the roadside ditch many times, and are closer for it.

Here at the Fountain, the list is long of similar struggles. But the list of our blessings is even longer. Our amazing supporters and donors. A devoted board of directors. Tremendous plays, performers, and production teams. The generous grantors who believe in our work and the power of theatre to create awareness and change – and help to fund it. A blossoming volunteer program with folks eager to help however they can. Ever-evolving programing to extend our reach into the community even deeper and further than before. A small, but very mighty, staff. And always, a willingness and determination to keep theatre alive and well.

Having an attitude of gratitude is not just putting on a happy face and ignoring the problems before us. It is an action we take. It is a conscious shift in perspective to find the positive in the negative, the good in the bad. An unimaginable pandemic lockdown encouraged us to find new ways of keeping our art alive. The technology of Zoom kept us connected with members of our Fountain Family. The incredible blessing of owning our building and property allowed us to apply for funding to build an outdoor stage in our parking lot – and to make that stage available to other local artists and companies who have either been displaced by Covid or are not yet ready to return to an indoor space. Indeed, the Fountain overflows with blessings.

So tell me – what are you grateful for this Thanksgiving? What’s on your Gratitude List? I would love to know! Email me at terri@fountaintheatre.com and share with me what fills your heart with thankfulness and joy. With your permission, I will share some of your thoughts in an upcoming blog. Gratitude, after all, is not restricted to one day of the year. An attitude of gratitude is something to be cultivated year-round. Writing out, on a regular basis, what brings you thankfulness and joy is a powerful way to do that.

I wish you all a blessed Thanksgiving. And for all you have done for all of us here at the Fountain Theatre, “I can no other answer make but thanks and thanks and ever thanks…”

Terri Roberts is a freelance writer and the Coordinator of Fountain Friends, the Fountain Theatre’s volunteer program. She also manages the Fountain Theatre Café.

The LA premiere of The Children opens at the Fountain Theatre

Photo by Jenny Graham

by Terri Roberts

Twenty months ago, the Fountain Theatre was forced to close in response to the Covid-19 pandemic. Downstairs our stage was dark. Upstairs the café was empty. It was an unimaginable time.

All of that has changed now. The success of preventatives (vaccines, masks, etc.) have allowed theatres to finally re-open with safety measures in place, and so last week the Fountain flung open its brand new double front doors to accept audiences back to our beloved indoor stage. There, on Andrew Hammer’s picturesque set for a British seaside cottage — beautifully lit by Christian Mejia, detailed by props designer Shen Heckel and sound designer Marc Antonio Pritchett, and costumed by Naila Aladdin Sanders — we introduced Lucy Kirkwood’s 2018 Tony-nominated play, The Children, to Los Angeles theatre-goers. Twenty months is a long time…and when the pre-show recording welcomed everyone back, the audience erupted in spontaneous cheers and applause!

The Children, directed by Simon Levy, is set in the afterworld of a life-threatening, and wholly preventable, environmental disaster. Also an unimaginable time. Long-married Hazel (Lily Knight) and Robin (Ron Bottitta), both retired nuclear engineers who worked at the local power plant, have moved to this isolated cottage following an explosion at their former workplace. Their pick-up-the-pieces quiet coastal life is upended, however, by the arrival of Rose (Elizabeth Elias Huffman), an old friend and fellow co-worker, who arrives with secrets and surprises that bring even more upheaval and fireworks.

Saturday, November 6th, was the official Opening Night for The Children. Following a thrilling performance, folks headed upstairs to our charming café for a tasty reception courtesy of Butler Pantry Catering. The entire building was filled with joyous embraces, vibrant conversation, and laughter and gratitude for being back together again.

Please enjoy these photos from our LA premiere production of The Children and the Opening Night reception. For information and to make reservations, CLICK HERE.

Terri Roberts is a freelance writer and the Coordinator of Fountain Friends, the Fountain Theatre’s volunteer program. She also manages the Fountain Theatre Café.

I sing for beloved Fountain actor Adolphus Ward

Adolphus Ward with playwright Athol Fugard at the Fountain Theatre in 2010.

by Stephen Sachs

“When you look at a fellow, if you taught yourself to look for it, you can see his song written on him. Tell you what kind of man he is in the world.” – Bynum, JOE TURNER’S COME AND GONE by August Wilson


Adolphus Ward was a shaman. When you stood in his sphere, you felt it. This was a man who accessed the otherworld. A conjure man, a healer, the keeper of souls. His impish grin, twinkling eyes, the playful tone of his voice warmed the heart.

The Fountain was Adolphus’ theater home. “From the start, the Fountain Family has been like blood-family-members to me,” he said. He and Ben Bradley were friends for more than thirty years, harking back to their Milwaukee theater days. At the Fountain, they partnered on two August Wilson plays. Adolphus’ favorite moment on stage in Gem of the Ocean was going to the City of Bones. “That was a damn good trip.”

I directed him in the premieres of two plays by Athol Fugard. Both times, Adolphus was other-worldly. In Coming Home, he played the ghost-spirit of Oupa (“grandfather”). A gentle soul who tended his desert plants and called the magic pumpkin seeds in his leather pouch “little miracles.”

In Fugard’s The Train Driver, he played a gravedigger overseeing a bleak South African burial site for the unknown and unwanted, who “puts the nameless ones in the grave.” I’ll never forget the moment in the play when Adolphus, as the gravedigger, sang a Xhosa lullaby to the souls in the ground who were “sleeping.” The song floated from Adolphus like smoke on the night air. Haunting, beautiful, quietly transcendent.

Adolphus now sleeps. And I sing to him.

Adolphus Ward passed away on November 7th at the age of eighty-six.

Stephen Sachs is the Artistic Director of the Fountain Theatre.

Fountain Theatre partners with L.A. Opera for conversation and book launch event “Smashing Barriers in Opera and Beyond”

In a first-time-ever collaboration, the Fountain Theatre and LA Opera present “Smashing Barriers in Opera and Beyond,” an in-person conversation with author, lecturer, and Metropolitan Opera commentator William Berger and internationally acclaimed opera singer Morris Robinson. This free event will take place on Tuesday, Oct. 19, at 8pm on the Fountain Theatre’s beautiful new Outdoor Stage. Mr. Berger’s latest book of recent and new essays, “Seeking the Sublime Cache,” will also be available for purchase and signing.

“Smashing Barriers in Opera and Beyond” will explore political and gender issues, not only in opera, but in the systemic marginalization of the arts in our country. What modern issues are at stake in the works of Giuseppe Verdi? What can we do about racism in the works of Richard Wagner? Why does this matter today?

“William Berger is not only a smart, witty aficionado from the Metropolitan Opera in New York,” says Stephen Sachs, Fountain Artistic Director, “he is a longtime friend. Hosting William and opera star Morris Robinson will be a treat for opera fans in our Fountain community. And partnering with LA Opera is joy.”

Come be part of the conversation and the fun! The Fountain Theatre is located at 5060 Fountain Ave., Los Angeles (at Normandie Ave.) Secure parking is offered for $5; street parking is also available. And concessions will be open with sandwiches, snacks, and drinks for sale — including beer and wine to toast Mr. Robinson, Mr. Berger and his new book, and the Fountain’s inaugural collaboration with LA Opera. Please note that admission to this event is limited to ages 12+. Proof of vaccination, as well as masks, are required for entry. For reservations and more information, call (323)663-1525 or CLICK HERE.

L.A. Premiere of Lucy Kirkwood’s ‘The Children’ opens Nov. 6 on the Fountain’s indoor stage

What is our responsibility to the future? What legacy do we want to leave? The Los Angeles premiere of The Children, written by Lucy Kirkwood and directed by Simon Levy, asks those questions and more in its Los Angeles premiere at the Fountain Theatre. Performances begin on the Fountain’s indoor stage (with all health and safety guidelines strictly adhered to) on Saturday, Nov. 6. The run continues through Jan. 23.

Kirkwood’s funny and astonishing Tony-nominated play is a taut and disquieting thriller about responsibility, reparation and what one generation owes the next. With the outside world in chaos following a devastating environmental disaster, two retired nuclear engineers live a quiet life in a remote cottage on the lonely British coast — until a surprise visit from a former colleague upends the couple’s equilibrium and trust.

The cast includes Ron Bottitta (Hir, Faith Healer, Arsenic and Old Lace, The Arsonists at the Odyssey Theatre; Superior Donuts, Yes, Prime Minister at the Geffen; Oppenheimer, Honky, Razorback at Rogue Machine Theatre, where he also hosts the company’s Rant and Rave spoken word series); Elizabeth Elias Huffman (artistic director of Chain Reaction Theatre in Pittsburgh, most recently seen on stage in The Oldest Profession by Paula Vogel at Portland’s Profile Theatre); and Lily Knight (Ovation, LADCC and Stage Raw award nominee for A Small Fire at the Echo Theater Company; A Delicate Balance at the Odyssey; Three Days in the Country, The Crucible, Peace in Our Time, The Autumn Garden at Antaeus, where she is a member).

“What I love about the play,” says Levy, “is that it tackles these enormously important contemporary issues about our responsibility to the planet, to each other, to future generations, and grounds them in funny, complex, identifiable characters grappling with a moral dilemma that, quite frankly, all of us are confronting, right now, in real time.”

“The nuclear disaster the town is struggling to survive could be anything — it could be COVID, or climate change,” says Fountain artistic director Stephen Sachs. “The moral dilemma is: what world are we leaving to our children?”

The Children premiered at the Royal Court Theatre in London in 2016, then transferred to the Manhattan Theatre Club on Broadway the following year. In 2019, The Guardian placed The Children on its list of “greatest theatrical works since 2000.” London’s The Independent called millennial playwright Kirkwood “the most rewarding dramatist of her generation.”

The Fountain creative team includes scenic designer Andrew G. Hammer; lighting designer Christian V. Mejia; sound designer Marc Antonio Pritchett; costume designer Naila Aladdin Sanders; choreographer Annie Yee; and dialect coach Nike Doukas. The production stage manager is Gina DeLuca. Stephen Sachs and James Bennett produce for the Fountain Theatre. Producing underwriters include Sheila and Alan Lamson, and Carrie Chassin and Jochen Haber. The executive producer is Karen Kondazian.

Proof of vaccination and mask-wearing will be required of all patrons. Admittance limited to ages 12+. All current CDC and local guidelines regarding seating and masks will be followed at each performance.

For reservations and information.

NOW CASTING: LA Premiere of Lucy Kirkwood’s timely and riveting “The Children”

The Fountain Theatre returns to indoor performances in October with the Los Angeles Premiere of the acclaimed Tony Award-nominated drama The Children by Lucy Kirkwood. With case numbers of the Delta variant trending downward in Los Angeles, the Fountain plans to reopen its indoor stage in October with all health and safety guidelines in place after nineteen months of closure due to the pandemic.

The Children is set in a small cottage on the east coast of England, where Hazel and Robin, two retired nuclear scientists in their mid-sixties, are living. A recent disaster at the local nuclear power station where they used to work has devastated the area, and they live under the threat of radiation pollution. Electricity and water are rationed, and they keep a Geiger counter to check for signs of radiation. However, Hazel is determined to preserve some semblance of normality and live the healthiest life she possibly can. So, Robin now farms, while Hazel practices yoga and devours salad. But when Rose, a former colleague whom they haven’t seen for 38 years, suddenly turns up, she disrupts their precariously ordered existence. Rose is determined to fix the problems they have caused for the next generation, even if it means certain death. Without ever mentioning climate change, Lucy Kirkwood’s brave, funny, humane, and chilling play asks us to confront the responsibility each generation must face for how it leaves the world. What is our responsibility to the future? Especially as we get older. What legacy, future, do we leave our children?

NOW CASTING

[ROSE] 64 to 68 years old, all ethnicities female. LEAD. Nuclear scientist/engineer. Sharp wit. No-nonsense. Strong-willed. Independent. A survivor. But these are shields to hide regrets and deep pain. Never married. Never had children. Lived in America for many years. A city person. She’s on a mission to save the world, to be accountable. She has many secrets, including being the former lover of ROBIN. She’s come to visit HAZEL and ROBIN after 38 years, out of the blue, with a request, with one of those secrets that is the turning point of the play.

[HAZEL] 64 to 68 years old, all ethnicities female. LEAD. Nuclear scientist/engineer. Retired. Has lived in the countryside most of her life. British droll sense of humor. She’s the homemaker, the caretaker. She believes in routine. She believes routine and salad and yoga will keep her and ROBIN and the world safe. She just wants everything to be nice, to be okay, to be controllable. But when that’s challenged by ROSE, she can be a fierce, formidable foe. Married to ROBIN for 40 years. Mother of 4. Grandmother. She will do anything to keep everyone safe. And she will not let ROSE steal ROBIN from her… and she will not let ROSE’s secret mission destroy her world.

[ROBIN] 64 to 68 years old, all ethnicities male. LEAD. Nuclear scientist/engineer. Retired. Down-to-earth. British droll sense of humor. Has that lived-in look. Husband of HAZEL. Married for 40 years. Father and grandfather. Former lover of ROSE. He’s the jokester. The little boy. He needs to turn pain and discomfort into humor and playfulness whenever possible. He’s also a workaholic. Always got to be doing something. Working the former farm. Taking care of the animals. Fixing the cottage. Can’t sit still. Like ROSE, he, too, has secrets… but ROSE’s secret request forces him to confront a moral dilemma that will change everything.

Producer/Theatre Company: Fountain Theatre
Artistic Director: Stephen Sachs
Director: Simon Levy
Writer: Lucy Kirkwood
Casting Director: Stephen Sachs
Audition Date(s): Sept. 2, 2021
Callback Date(s): Sept 7. 2021
Rehearsal Date(s): Sept 13, 2021
Preview Date(s): Oct. 20, 2021
Opening Date(s): Oct. 23, 2021
Closing Date(s): Dec. 19, 2021
Rate of Pay: AEA 99-Seat Contract
Location: Los Angeles, CA, USA

Submit to: Actors Access or email casting@fountaintheatre.com

Angie Kariotis talks Walking the Beat and its August 25 final presentation: BLACKOUT 2021

Angie Kariotis, co-creator of Walking the Beat

by France-Luce Benson

Among the many lessons learned in 2020, the most crucial may be our urgent need to have open and honest conversations about race in America. As the grisly video of George Floyd’s murder surfaced, it became painfully clear that we could not afford to look away. Protesters spilled into the streets of cities across the country with a powerful message: If we are silent about injustice, we are complicit.

Angie Kariotis, Program Facilitator and Curriculum Director for Walking the Beat Los Angeles, has devoted her work to fostering these difficult conversations. Kariotis, along with Fountain Theatre Board member Theo Perkins, created Walking the Beat as a tool for community building for high school students. The nine-week multi-media workshop combines performance, creative writing, film, and research to initiate positive interactions between youth and police.

The Arts Education program began in New Jersey in partnership with Elizabeth Youth Theatre Ensemble, and in 2019 the Fountain Theatre launched Walking the Beat Hollywood. This year, the Fountain expanded the program, making it possible for students and police officers outside Hollywood to participate. On August 25, the Fountain will screen Walking the Beat Los Angeles’ culminating multi-media presentation, BLACKOUT 2021.

I had the pleasure of talking to Kariotis about the evolution, impact, and future of this vital program. 

What kind of impact did the events of 2020 have on the students, based on your work with them this past month?

If we are scared as a nation, we will forget all the lessons hard learned. You can see it happening already. No one is talking about all the changes we want to keep. What do we want to keep? Instead of rushing to “normal” (which wasn’t!), 2020 necessitated an activation. We’re activated. One thing the students are is ready.

Was it difficult getting the officers and students to open up?

No, it wasn’t difficult for anyone to open up, by themselves and with each other. People, and I believe most people, want to do just that. But they need permission and they don’t want to be alone doing it.

How has the program evolved since its inception, particularly in the last year?

We got research-heavy this year. We turned this workshop into a popular education. We practiced critique and analysis. We studied. We grew into our work as research-based performance artists. We aimed to challenge public policy formally. We are working to move our practice into the theater that is public policy.

How have your own background and experiences prepared you to do this?

I am studying design thinking and collaborative group processes. This framework is about divergent thinking, collaboration, experimentation, and honoring failure. Creativity — and not just the art-making transactional kind — is a necessary skill. We need people who are able to identify problems before they become problems.

Who should see BLACKOUT 2021? Why?

Anyone who wants to know how to have hard conversations with others. People interested in learning how to get people to the table. How to talk about things no one knows how to talk about. Right now we all want to talk about a lot, but we don’t know how.

What is your vision for the future of Walking the Beat and beyond?

For Walking the Beat, my vision is doing policy brief work, where we move beyond survivance and reconnect with the Earth. I wonder how our workshop can tackle the larger theme of power and how that affects our relationship with the planet.  We talk about public safety. Do we have planetary safety? What does that mean? How is the way we treat each other impacting climate? This is the ethos moving me into this space and beyond.

* * *

It is this passion and progressive vision that have inspired the ensemble of students and officers to create work that is bold, brave, and charged with the urgency of this moment in our country. In addition to serving as Program Facilitator and Curriculum Director of Walking the Beat, Kariotis offers community workshops for parents on How to Raise Anti-Racist Kids, works at Brookdale Community College as Director of Diversity and Inclusion/CCOG, and has published a chapter in Musing the Margins, an anthology examining the influence of culture and identity on the craft of fiction.

BLACKOUT 2021 will premiere on the Fountain Theatre’s outdoor stage this Wednesday, August 25, at 7pm. It will also be available to view on Fountain Stream in the fall.

France-Luce Benson is an award-winning playwright and the Community Engagement Coordinator at the Fountain Theatre.